Camus died on 4 January 1960 at the age of 46, in a car accident near Sens , in Le Grand Fossard in the small town of Villeblevin . In his coat pocket was an unused train ticket. He had planned to travel by train with his wife and children, but at the last minute he accepted his publisher's proposal to travel with him. 
A movement in twentieth-century literature and philosophy , with some forerunners in earlier centuries. Existentialism stresses that people are entirely free and therefore responsible for what they make of themselves. With this responsibility comes a profound anguish or dread. Søren Kierkegaard and Feodor Dostoevsky in the nineteenth century, and Jean-Paul Sartre , Martin Heidegger, and Albert Camus in the twentieth century, were existentialist writers.
These kinds of absurdity are driving Camus’s question about suicide, but his way of proceeding evokes another kind of absurdity, one less well-defined, namely, the “absurd sensibility” (MS, 2, tr. changed). This sensibility, vaguely described, seems to be “an intellectual malady” ( MS, 2) rather than a philosophy. He regards thinking about it as “provisional” and insists that the mood of absurdity, so “widespread in our age” does not arise from, but lies prior to, philosophy. Camus’s diagnosis of the essential human problem rests on a series of “truisms” ( MS, 18) and “obvious themes” ( MS, 16). But he doesn’t argue for life’s absurdity or attempt to explain it—he is not interested in either project, nor would such projects engage his strength as a thinker. “I am interested … not so much in absurd discoveries as in their consequences” ( MS, 16). Accepting absurdity as the mood of the times, he asks above all whether and how to live in the face of it. “Does the absurd dictate death” ( MS, 9)? But he does not argue this question either, and rather chooses to demonstrate the attitude towards life that would deter suicide. In other words, the main concern of the book is to sketch ways of living our lives so as to make them worth living despite their being meaningless.
On the surface, L'Etranger gives the appearance of being an extremely simple though carefully planned and written book. In reality, it is a dense and rich creation, full of undiscovered meanings and formal qualities. It would take a book at least the length of the novel to make a complete analysis of meaning and form and the correspondences of meaning and form, in L’Etranger . 
In this way, morality requires an active decision making.
In contrast to this, the inauthentic is the denial to live in accordance with one's freedom. This can take many forms, from pretending choices are meaningless or random, through convincing oneself that some form of determinism is true, to a sort of "mimicry" where one acts as "one should".
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